freshness and sparkle of atmosphere not attained by the earlier
technical methods of the impressionistic school, which does not in the
putting on of the paint differ from the old school. Besides, this use of
pure paint enabled them to have the mixing of the paint, so to speak,
done on the canvas, as the various primary colours juxtaposed would
produce any desired number of secondary and tertiary colours without
loss of freshness. In other words a green would be produced, not by
mixing yellow and blue on the palette, but by putting a yellow dot and a
blue dot alongside of each other, and so ad infinitum. According to the
form of their colour dots they were called pointillistes, poiristes, and
other more or less self-explanatory names. The service of these men to
art can never be estimated too highly. The modern school of landscape
painting particularly, and other art involving indoor subjects, are
based entirely on the principles Monet discovered to the profession.

Pissarro, on either end of the wall opposite the Monet, appeals more in
the new method of the neo-impressionists than Monet, by reason of much
more interesting subjects. The one Pissarro on the right is of the first
order from every point of view, demonstrating the superiority of the
neo-impressionistic style applied to a very original and interesting
subject. "The River Seine," by Sisley, is also wonderfully typical of
this new style, while of the two Renoirs, only the still-life can really
be called successful. There is an unfortunate fuzziness in his landscape
which defeats all effect of difference of texture in the various objects
of which this picture is composed.

There are a number of canvases in this gallery which have nothing to do
with the predominating impressionistic character of the gallery. The
Puvis de Chavannes gives one a very fine idea of the idealistic outlook
of this greatest of all modern decorators. His art is so genuinely